Minter, Kenda Louise
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I am currently working on small painted constructions. When I first started this body of work, I used found objects as a basis for forming each piece. The objects were transformed from junk into representations of various medals of honor. Since then the emphasis has changed from a sentimental attachment to the object into a more integrated construction of form, texture, and color. The pieces consist of a variety of found objects that provide a foundation for ideas and solutions within the pieces. The objects are appropriately arranged and visually transformed by the addition of the painted surface. When constructing a two-dimensional relief surface it is apparent to me that the paint must be a rich and integral part of the piece or be overpowered by the found object. I use the paint to enhance, respond to, or imitate the physical, tactile and inherent color qualities natural to found objects. In effect, the paint must become object-like. The pieces focus on the tension between the actual object on the surface and the illusion created by the painted shapes. This encounter between the physical reality of the objects and the painted illusion of form and space becomes the crux of my pieces. The objects I choose lend themselves to a small format because the paint can more easily transform the scale of the objects. As I work, idea's for pieces occur simultaneously. I take advantage of these ideas by working on many pieces at once. The immediacy of the small scale allows for manipulation and experimentation. As I paint on a construction I often hold it in my lap. I enjoy the feeling of the entire construction becoming an object. I want the viewer to be as involved in comprehending the pieces as I was in making, them. I want my work to engage the viewer through the recognition of the illusion versus object, a fascination with surface, a response to the colors, and by identification of the objects. My paintings may appear one way at first glance, then as the viewer is drawn close I hope his perception will change. Ideally the viewer will become aware of the deception and the reality of the construction.